DOCSLIB.ORG

Spirit Menders: the Expression of Trauma in Art Practices by Manitoba Aboriginal Women

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spirit Menders: the Expression of Trauma in Art Practices by Manitoba Aboriginal Women Spirit Menders: The Expression of Trauma in Art Practices by Manitoba Aboriginal Women Artists by Leah Marisa Fontaine A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfilment of the requirements of the degree of MASTER OF ARTS Department of Native Studies University of Manitoba Winnipeg Copyright © 2010 by Leah Marisa Fontaine Abstract Historical trauma has affected the lives of all Aboriginal people in Canada. This thesis argues that Aboriginal art has the potential to contribute to recovery from trauma on an individual and a communal level but that its continued analysis through the Western gaze may take away from this restorative impact. The main purpose of this research is therefore to explore how historical trauma theory and the Aboriginal ethos can be viewed together to create a new hybridized lens though which to interpret Aboriginal art. This lens has been named the Spirit Mender Model. The thesis explains and illustrates how this model provides a useful Aboriginal lens through which to understand, interpret, and appreciate Aboriginal art in it restorative impacts. Leah Marisa Fontaine Spirit Menders: ! For me it has been a constant battle since entering Art College in Calgary in 1962. Nothing has been handed to me on a silver platter, but I have drawn the energy from all this negativity and turned it into a positive force. The racism I have suffered has only focused me more on the battle against racism. It is one of the war shirts that I wear now. I know there is a purpose for me on this earth and I will make a difference. To my fellow exhibitors: I am proud to exhibit my work with you and to know that even though your road will be rough that I will have helped to create some smooth patches for you as those artists I have listed on the blackboards have done for me and for us all. To those people whose life is affected by racism, I say-as my father taught me- “Just take a stand, just fight and never give in, never give into those bastards.” Joane Cardinal Schubert Plains Cree (1989), artist, curator, writer and storyteller. Leah Marisa Fontaine Spirit Menders: " Acknowledgements I came across a teaching, and this teaching gave me knowledge about the universe. It said sky is where Eagles reside and ascend as messengers to the Creator. To me, the Eagles represent the artists in this thesis. I would like to thank Lita Fontaine, Raven Peters, Tiffany Seymour, Jackie Traverse, and Val T. Vint, for their participation in this study. I consider them art activists. In this teaching, the Earth represents Grandmother Turtle and her wisdom. I would like to thank Pat Pedersen and Sylvana Rodrigue for their guidance and knowledge. The East represents Spirit. I would like to acknowledge the spirit and patience of my family. I would also like to acknowledge my good friend Christina Keeper who understood. The South represents the window of my soul, my emotions. I would like to thank Les Oliver for the light in my window and nurturance that accompanied the light. The West represents courage, which was shown by the Sagkeeng Education Authority and the Centre for Creative Writing and Oral Culture. They believed in me and made it possible for me to continue my education. The North represents the intellectual aspect. I would like to thank the members of my committee, Dr. Emma LaRocque, Dr. Oliver Botar, and especially Dr. Renate Eigenbrod for their advice, their support, and their motivation. I would also like to thank the support staff within the Department of Native Studies. Leah Marisa Fontaine Spirit Menders: # Finally, the Centre, which acknowledges the community. I would like to thank the Aboriginal children, adults, and Elders who have given me the opportunity to work as a spirit mender. I would also like to thank them for assisting me to see art through their eyes. To all my teachers, and all my relatives, Miigwech. Leah Marisa Fontaine Spirit Menders: $ Table of Contents Abstract …………………………………………………………………………… 2 Epigraph.………………………………………………………………………….. 3 Acknowledgments………………………………………………………………….4 Table of Contents ………………………………………………………………… 6 1. Introduction………………………………………………………………...8 1.1 A Brief Autobiography……………………………………………....8 1.2 Aboriginal Art……………………………………………………... 13 1.2 a Historical Overview………………………………………... 13 1.2 b Aboriginal Art Theories…………………………………… 25 1.2 c Social Implications of Aboriginal Art Practice……………………..28 1.3 Trauma Theories…………………………………………………… 35 1.4 Development of Spirit Mender Model..……………………………. 40 1.4 a Medicine Wheel……………………………………………. 40 1.4 b Figure 1. The Spirit Mender Model………………………...93 2. Methodology…………………………………………………………… 45 3. The Interviews: Aboriginal Women Artists of Manitoba……….………47 3.1 East: “Confronting The Trauma”: Jackie Traverse……………… 47 3.2 South: “Understanding The Trauma”…………………………… 54 3.2 a Tiffany Seymour…………………………………………… 55 3.2 b Raven Peters………………................................................. 59 Leah Marisa Fontaine Spirit Menders: % 3.3 West: “Releasing The Pain”: Val T. Vint………………………….64 3.4 North: “Transcending The Trauma”: Lita Fontaine……………..… 70 4. Conclusion………………………………………………………………………. 78 4.1 Limitations of Current Study………………………………………..80 Works Cited…………………………………………………………………….… 82 Appendix A - Figures Figure 1. Spirit Mender Model………………………………………. 93 Figure 2. Butterfly by Jackie Traverse………………………….……. 94 Figure 3. Reminder Jackie Traverse………………………………..….95 Figure 4. The Loss by Tiffany Seymour……………………………... 96 Figure 5. Prozac-Triptych by Raven Peters…………………………...97 Figure 6. Loser by Raven Peters……………………………………... 98 Figure 7. That Little Girl In The Moon by Val T. Vint………………. 99 Figure 8. Displacement by Lita Fontaine…………………………......100 Figure 9. Mom by Lita Fontaine……………………………………....101 Figure 10. Mom Too by Lita Fontaine………………………………….102 Appendix B Invitation Letter…………………………………………………………….103 Summary and Questions……………………………………………………104 List of Counselors………………………………………………………......106 Leah Marisa Fontaine Spirit Menders: & 1. Introduction 1.1 A Brief Autobiography One little, two little, three little Indians…this was part of my being, growing up in a reality filled with stereotypes surrounding me in my early years. I recall the capital letter “I” on a border above the chalk board and there, perched next to it, was a little Indian papoose, a North American Indian child. These experiences began during the 1960’s and were the first of many forms of stereotyping and oppression that I encountered, including name-calling and the double-edged sword of racism, like being caught in the middle of not being white or Indian enough. Nevertheless, I survived the oppressive milieu and came out to be a rather decent human being. However, it was not easy. During my early years, I had to repeat a grade due to my inability to communicate effectively. I had to go to speech therapy, which meant missing recesses - playtime for a child. English was my mother’s second language and the pronunciation of my mother’s first languages of Dakotah and Saulteaux permeated my proper speech phonetics of English. I also lost my singing voice in elementary school because I went out of key during a choir practice and the music teacher told me to leave. From there on, I did not involve myself further in choirs and even today struggle to sing our sacred songs in ceremonies. I will overcome it. I struggled with writing as well and often wondered about it. I eventually understood my difficulty with writing as an intergenerational transmission from my mother (Dakotah). My mother went back to school to gain a diploma in social work, but Leah Marisa Fontaine Spirit Menders: ' written English was a constant battle for her also. Her emotional struggle, I believe, was transmitted into my psyche as well. I came to think that my abilities were lacking and this attitude became a mantra during my childhood and continues to this day. So to break the frustration cycle of my mother and me, I am writing this thesis in honour of her and all mothers who successfully kept our heritage very much alive during our combat against colonialism. My first recollection of art was in grade three. Even though the work I made was a flag of Nova Scotia, I felt proud. It was hung up in the hallway along with the works of kids of diverse backgrounds to commemorate Canada’s Centennial year of 1967. It was a year of Canadian nationalism and little did I realize that my flag was a form of assimilation/acculturation that silently compelled me to conform me to the customary practices of colonialism. As I reflect back on my childhood drawings, I realize that I was also drawing the history of my surroundings and my upbringing, shrouded in veils of historical trauma and the ways in which these traumas were being played out in the present. I chose art as a tool to assist me in gaining a voice to express my experiences of being colonized: in other words, as a tool of decolonization. Art was and is my way of releasing and expressing that which is inside me. In addition, having an Aboriginal way of knowing that I adopted from my mother, as she did from her mother and others in the matrilineal line, helped to make art make sense for me. My experiences of trauma began to appear in my early years having seen my parents struggle with the perils of alcohol abuse and my dad beating on my mom. To Leah Marisa Fontaine Spirit Menders: ( help me cope with my surroundings I would go hide and begin drawing because the act itself took me to another place of peace and solitude. From my previous experiences of being good in art at school, drawing became a substitute for my yearning for my parents’ affections. My parents did not have the time to sit down and provide their children with cognitive nurturance. My parents had to work because there were nine children in my family and providing for us physically was the priority.
Load more

Recommended publications
  • Art of the Peace Symposium ‘07 the Prairie Art Gallery: 7 8 13 25 Contents 14 20 16 Steve Mills
    A Publication for the Visual Arts Fall/Winter 2007 Issue 9 of the Peace www.artofthepeace.ca Brian Jungen: A DEEPER WELL Symposium ‘07 Deryk Houston: Cultivating a Place of Peace Open to Interpretation: Three Peace River Artists ollege C O NCE RT SER IES Mark O’Connor’s For further information hot swing please call GPRC Fine Arts at 780-539-2443 November 21, 2007 All performances at DJ Cardinal Performing Arts Centre Chatham Baroque January 11, 2008 Robert Silverman February 14, 2008 Ensemble Caprice baroque turbulence February 24, 2008 Camerata Nordica sweden March 16, 2008 Rising Again? Deryk Houston Workshops in Progress Art of the Peace Symposium ‘07 The Prairie Art Gallery: 7 8 13 25 contents 14 20 16 Steve Mills Brian Jungen Open to Interpretation art out there... 4 the BUSINESS of art 10 Art Books in Review 12 Artists with Issues 19 education & opportunities 22 The Last Word 26 Editor: Wendy Stefansson ©All rights reserved Art of the Peace Editorial Committee: Dale Syrota, Carrie Klukas 2007 Design, Layout & Advertising: imageDESIGN Art of the Peace Visual Arts Association Contributors: Jody Farrell, Wendy Stefansson, Ellen Corea acknowledges the financial assistance of: Reproduction in whole or in part is Publisher: Art of the Peace Visual Arts Association, strictly prohibited. c/o The Prairie Art Gallery, The Alberta Foundation for the Arts Suite #103, 9856 - 97 Street, Grande Prairie, AB T8V 7K2 Art of the Peace makes every effort to Ph: (780) 532-8111; [email protected] ensure the accuracy of the information Printing: Menzies Printers it publishes, but cannot be held respon- Cover: Prototype for New Understanding #5, 1999, Nike Air Jordans, City of Grande Prairie Arts Development Fund sible for any consequences arising from human hair.
    [Show full text]
  • The Alberta Foundation for the Arts Travelling Exhibition Program Now Is the Winter
    Interpretive Guide & Hands-on Activities The Alberta Foundation for the Arts Travelling Exhibition Program Now is the winter... The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by the Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels.
    [Show full text]
  • Analyse D'œuvres Du Style Artistique Woodland
    TRACES DE PEINTURE ARTIDAVI_VF1_Fiche1 Analyse d’œuvres du style artistique Woodland Norval Morrisseau est considéré comme le père du style artistique Woodland. Au cours des années 1970, il s’est affilié à une coopérative d’artistes, desquels certains ont adopté des aspects de ce langage artistique du style Woodland. Par la suite, il y a eu une relève formée d’une nouvelle génération de peintres qui ont trouvé leur inspiration dans ce style, et ce courant se poursuit encore aujourd’hui. Dans cet exercice, tu exploreras des œuvres de ces deux groupes d’artistes : ceux qui étaient à l’origine, et ceux de la relève. Citation de Daphne Odjig : « Nous sommes un peuple vivant et une culture vivante. Je suis convaincue que notre destin est de progresser, d’expérimenter et de développer de nouveaux modes d’expression, comme le font tous les peuples. Je n’ai pas l’intention de rester figée dans le passé. Je n’suis pas une pièce de musée. » Source : Les dessins et peintures de Daphne Odjig : Une exposition rétrospective, Bonnie Devine, Robert Houle et Duke Redbird, 2007. Consigne Tu analyseras deux œuvres, une de chaque groupe. Les œuvres du premier groupe sont celles d’artistes qui ont côtoyé Norval Morrisseau et comme lui, ont adopté un langage artistique similaire. Leurs couleurs plutôt ternes avec l’ocre très présent rappellent celles des pictogrammes et peintures rupestres sur les rochers dans la région des Grands Lacs où ce style est né. Bien que ces œuvres présentent des ressemblances, le style de plusieurs de ces artistes se transformera dans une forme personnelle, surtout à partir des années 1980, quand on verra émerger l’usage de couleurs éclatantes.
    [Show full text]
  • Knowledge Organiser: How Do Artists Represent Their Environment
    Knowledge Organiser: How do Artists represent their environment through painting? Timeline of key events 1972 – Three First Nations artists did a joint exhibition in Winnipeg 1973 – Following the success of the exhibition, three artists plus four more, created Indian Group Of Seven to represent Indian art and give it value and recognition. 1975 – Group disbanded Key Information Artists choose to work in a particular medium and style. They represent the world as they see it. Key Places Winnipeg, Manitoba, Ontario, British Columbia, Alberta Key Figures Daphne Odjig 1919 – 2016 Woodland style, Ontario; moved to British Columbia Alex Janvier 1935 – present Abstract, represent hide-painting, quill work and bead work; Alberta Jackson Beardy 1944 - 1984, Scenes from Ojibwe and Cree oral traditions, focusing on relationships between humans and nature. Manitoba. Eddy Cobiness 1933 – 1996 Life outdoors and nature; born USA moved to winnipeg Norval Morrisseau 1931 – 2007 Woodland stlye; Ontario, also known as Copper Thunderbird Carl Ray 1943 – 1978 Woodland style, electrifying colour (founder member); Ontario Joseph Sanchez 1948 – present Spritual Surrealist; Born USA moved to Manitoba Christi Belcourt 1966 – present Metis visual artist, often paints with dots in the style of Indian beading – Natural World; Ontario Key Skills Drawing and designing: Research First Nations artists. Identify which provinces of Canada they come from. Compare and contrast the works of the different artists. Take inspiration from the seven artists to plan an independent piece of art based on the relevant artist: • Give details (including own sketches) about the style of some notable artists, artisans and designers. • type of paint, brush strokes, tools Symbolic representation • Create original pieces that show a range of influences and styles based on the Indian Group of Seven and their work.
    [Show full text]
  • FEVER DREAMS / / Interview with Andy Fabo
    FEVER DREAMS / / Interview with Andy Fabo In a 1981 essay published in October, Benjamin Buchloh described contemporary artists engaged in figuration as “ciphers of regression,” artists whose practices represented a step backwards in the forward march of artistic progress. This prominent art historian, born in Germany and working now as a professor at Harvard, was employed at the Nova Scotia College of Art and Design (NSCAD) when he wrote this essay, appointed head of the university press between 1978 and 1983.i Buchloh was in part reacting to the extreme heat of the neo-Expressionist market of the late 1970s and ‘80s, which in many ways mirrored the excesses of Wall Street at the time; New York Times critic Roberta Smith reflects that “The Neo-Expressionists were an instant hit. The phrases ‘art star’ ‘sellout show’ and ‘waiting list’ gained wide usage, sometimes linked to artists you’d barely heard of.”ii Buchloh, like Clement Greenberg had for the modernist generation before him, played an outsized role in the nascent post-modern scene in Canada. However, unlike Greenberg, the rapidly expanding field of artistic production in Canada prevented him from playing the singular role that Greenberg had during his time. Simply put, the proliferation of university studio programs and the coalescing of artistic communities in various urban centres allowed for a multiplicity of practices that had not existed in Canada prior to the 1970s. Fever Dreams, which presents figurative works drawn from the Permanent Collection of the MacLaren Art Centre and dating from 1978 to 2000, highlights a seismic shift from a virtually monolithic focus on abstraction at mid-century to the more pluralistic artistic practices of the latter quarter of the twentieth century.
    [Show full text]
  • Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
    Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her.
    [Show full text]
  • Counterfeit Cultures
    COUNTERFEIT CULTURES CULTURAL APPROPFUATION, ART BY NATIVE ARTISTS AND CANADIAN ART GALLERIES Pamela Krueger A thesis submitted in partial fiilfiUment of the requirements for the degree of Interdisciplinary M. A. in Humanities: Interpretation and Values Laurentian University, Sudbury, Ontario O Copyright by Pamela Knicga 1998 Acquisions and Acquisitions et Bibliographie Services senrices bibliographiques The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, disûicbuer ou copies of this thesis m microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. COUNTERFEIT CULTURES CULTURAL APPROPRIATION, ART BY NATIVE ARTISTS AND CANADIAN ART GALLERIES Cbairpasoa of tht Supavisory Coomiinet: Dr. Carouc GagInm This thesis examines cuitural appropriation, its importance, and the role played by Canadian art galleries in cultural appropnation relative to the exhibition and collection of art by Native artists. After estabiishing a common ground conceming terminology and concepts, a definition for cultural appropnation is developed according to its specificity and importance for Native and Western cultures.
    [Show full text]
  • MAWA Newsletter, Fall 2019
    September, October, November 2019 611 Main Street Winnipeg Manitoba Canada R3B 1E1 204-949-9490 | [email protected] | www.mawa.ca n Resilience Art Cards and Teaching Guide o i t a c u d E t r A s u o n e g i d n I A few of the 50 artists featured in Resilience: 50 Indigenous Art Cards and Teaching Guide , an art education tool published by MAWA. Left to right: Jackie Traverse, Jaime Black, Tanya Harnett, KC Adams, Lita Fontaine (who co-authored the Teaching Guide ) and project curator Lee-Ann Martin, June 2018 In the summer of 2018, MAWA Board Mentor Cathy Mattes asked But that’s not all! MAWA hired a dream team of art educators – an important question: “What’s next, MAWA?” With the Resilience Yvette Cenerini (Métis), Lita Fontaine (Anishinaabe/Dakota/Métis) project, MAWA had just shown the works of 50 Indigenous women and Dawn Knight – along with Two-Spirit Elder Albert McLeod (Cree), on billboards from coast to coast, an exhibition that was viewed over to create a bilingual teaching guide that is full of ideas on how to 23,000,000 times by Canadians from all walks of life! But her point animate discussions and inspire activities in all subjects. was well taken: a commitment to reconciliation and Indigenous women For too long, the only visual artists most students could name artists is not a one-time thing. were masters of the European Renaissance (and Ninja Turtles!). This Simultaneously, feminist art education for younger participants is not surprising, considering that almost all art-related classroom was a priority for MAWA’s Board.
    [Show full text]
  • ROSALIE FAVELL | ​Www
    ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca ​ ​ EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) ​ ​ 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) ​ ​ 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) ​ ​ 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – ​ ​ ​ September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) ​ ​ 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) ​ ​ 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. ​ ​ (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – ​ ​ July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) ​ ​ 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) ​ ​ 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) ​ ​ 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada.
    [Show full text]
  • Proquest Dissertations
    The Anti-Trickster At Play: Representing First Nations Artists And Art In The Art Galleries And Museums Of Northern British Columbia Annette Catherine Schroeter B.Des., Open University of British Columbia and Emily Carr College of Art and Design, 1992 Graphic Design Major B.A., University of Northern British Columbia, 1997 Anthropology and History Majors Thesis Submitted in Partial Fulfillment Of The Requirements For The Degree Of Master Of Arts In First Nations Studies The University Of Northern British Columbia January 2008 © Annette Catherine Schroeter, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-48819-5 Our file Notre reference ISBN: 978-0-494-48819-5 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these.
    [Show full text]
  • Windspeaker February 1996
    --.11., QUOTABLE QUOTE "National Chief Mercredi's actions and statements are an insult to the chiefs." - Manitoba Grand Chief Phil Fontaine '2 00 where applicable PUBLICATION MAIL REGISTRATION k2177 13 No. IO FEBRUARY 1996 Canada's National Aboriginal News Publication Volume POSTAGE PAID AT EDMONTON Thumbs up for treaties VANCOUVER Negotiation is the only acceptable and civilized way for Native people and the government to deal with the complex issues of Abo- riginal title and rights in the province of British Columbia, said Chief Joe Mathias. He was responding to a new study, conducted by ARA Con- sulting Group of Vancouver, which found land claim treaties have a positive effect in regards to economic opportunity, community development and improved relations between Aboriginal and non- Aboriginal people. "The strength of this report is that it provides an independent and balanced perspective of the issues, challenges and opportuni- ties of treaty- making," said Mathias. "It is a critically important and timely document, one we expect will generate constructive public debate in the months ahead." The study found that modern day treaties have not caused the kind of disruption and disharmony their critics contend they do, but neither do they offer instant solutions. A summary report pre- pared by Ken Coates of the University of Northern British Colum- bia said the resolution of long- standing disagreements, through negotiation rather than through legal or politically imposed con- ditions, will liberate people from the contentious and difficult de- bates of the past. "These often heated discussions - about colonialism, disloca- tion, sovereignty, ownership, and the legitimacy of Native land claims - generate a great deal of rhetoric and anger but rarely pro- vide lasting solutions," concludes the summary.
    [Show full text]
  • Transforming and Grappling with Concepts of Activism and Feminism with Indigenous Women Artists
    Transforming and Grappling with Concepts of Activism and Feminism with Indigenous Women Artists Julie Nagam, York University and the Tensions and contradictions exist University of Manitoba, is situated in between the social locations of feminism multiple locations of community, race, class and activism among Indigenous women and identity. artists. A dialogue needs to be created to grapple with these concepts in an Abstract Indigenous context, one that would engage This essay reflects on the multiple relations with the relationship between Indigenous between the socially constructed terms of women and the cultural politics of their art activism, feminism and Indigenous artists practices and provide discourse surrounding and whether such reflections connect to a feminism and activism in the context of the larger discussion surrounding colonization, artistic practices of the original inhabitants of hegemonic western art practices and the Turtle Island. To that end, this essay reflects lack of female Indigenous artists in the on the complex relations between the mainstream art world. socially constructed terms of activism, Résumé feminism and Indigenous artists and Cet article est un réflexion sur les multiples whether such reflections connect to a larger relations entre les termes construits discussion surrounding colonization, socialement d'activisme, de féminisme et hegemonic western art practices and the d'artistes indigènes et si ce genre de lack of female Indigenous artists in the réflexions se relient à une plus grande mainstream art world. discussion sur la colonisation, les pratiques Indigenous struggles rooted in d'art occidentales hégémoniques et le decolonization and self-determination manque de femmes artistes indigènes dans historically have a distorted relationship to le monde d'art conventionnel.
    [Show full text]